The fandango, emerging in the early-eighteenth century Black Atlantic as a dance and music craze across Spain and the Americas, came to comprise genres as diverse as Mexican son jarocho, the salon and concert fandangos of Mozart and Scarlatti, and the Andalusian fandangos central to flamenco. From the celebrations of humble folk to the theaters of the European elite, with boisterous castanets, strumming strings, flirtatious sensuality, and dexterous footwork, the fandango became a conduit for the syncretism of music, dance, and people of diverse Spanish, Afro-Latin, Gitano, and even Amerindian origins. Once a symbol of Spanish Empire, it came to signify freedom of movement and of expression, given powerful new voice in the twenty-first century by Mexican immigrant communities. What is the full array of the fandango? The superb essays gathered in this collection lay the foundational stone for further exploration.
We have to resort to vocal compositions to find citations or traces of musical forms2often dance forms2that we now ... extensively at the international conference The Global Reach of the Fandango in Music, Song and Dance: Spaniards, ...
In the case of Lecavalier, response hovers between fear and longing, fascination and forgetting, with the style rapidly noted ... Katherine Greenaway, “La La La dancer undaunted by date with pop idol,” Montreal Gazette, March 7, 1990.
Most of the evidence available to us about flamenco performance in the mid-nineteenth and early twentieth centuries deals primarily with the music, most frequently the cante (flamenco song). Dance, particularly in English sources, ...
The first New World plantation was established in 1506 on Hispaniola, presentday Haiti and Dominican Republic (José Luis Cortés ... 12 (2015): 619–56; and The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, ...
Although many flamenco scholars and artists consider flamenco a “modern” art as contemporary as film and photography,24 flamenco continues to be exoticized, downplayed as improvised, and contextualized within negative stereotypes.
In The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies, edited by K. Meira Goldberg and Antoni Piza, 219–235. Newcastle: Cambridge Scholars Publishing. Reyes, David, and Tom Waldman. 2009.
Thurston Dart, “Purcell's Harpsichord Music,” The Musical Times 100 (1959), pp. 324–325. The manuscript sources are considered in Robert Shay and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources (Cambridge: Cambridge ...
The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies, edited by Meira Goldberg and Antoni Pizà. Cambridge Scholars, 2016, pp. 518–535. Jowitt, Deborah. “In Pursuit of the Sylph: Ballet in ...
Pérez Montfort, R. (2017) 'The fandango as an expression of cultural circulation in Mexico and the Caribbean', in K. Meira Goldberg and A. Pizà (eds.), The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, ...
Royal Family of the Spanish Guitar Walter Aaron Clark ... the Romeros were dubbed the Royal Family of the Guitar (and later, in German, Die königliche Familie der Gitarre), which in a purely artistic sense was true but in another quite ...